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Thanks Everybody, I'm not in over my head and i'm not really worried about the shoot. I completely understand G3's. I've just had issues with RED cameras before and i'm just wondering what everybody else would do. Sorry for asking so many questions, i ask the basic questions because you can still learn new things .
- Today
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they look like two standard batteries to me, peel off the label, you should be able to take the batteries out, should be sitting on a connector...
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I do not own this kind of TC display unit but I’ve custom built and replaced many battery packs in other devices. I would first reach out to the manufacturer or one of their resellers and see if they have a price on a spare and if it’s enough to send the battery to you or if it really need to be replaced by the manufacturer. They most like say it’s needed. Ask yourself if it’s worth it or not. Hassle free often comes at an expense but also with a warranty. Not always a bad thing. After that it’s all about how handy you consider yourself to be. To do it yourself, take a peek at how they are attached to the pcb and fixed to the case. Any wiring can be detached and measured to see voltage. If needed you can remove the label stickers and see if there are a model number written on lipo-cell by the original manufacturer. The text often describe chemistry, size and capacity. Then it’s often as simple as searching for those numbers or sizes on the web and you will find that they are available for different sources. Not always as complete and drop-in ready but ready to solder and drop in. When I look at the photos of cells it looks to be those standard Nokia cells used by half of the world a few years back. I’ll look closer on the workstation later today and get back to you. If so it’s very simple to by new ones replace them.
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I've worked with RED cameras plenty of times. Things are less hairy than a few years ago, but still not perfect. So in addition to the solid advice above, let me add: 1) Find out exactly what model RED camera model and firmware you're be working with. Helium is the name RED gives to a particular sensor that can be found in at least two different model cameras). Could be they're working with a DSMC2 "Brain" or could be an earlier Epic model. And ask what audio I/O that particular camera has https://www.red.com/dsmc2 . Do they have a RED I/O module, or a Wooden Camera A-Box https://woodencamera.com/collections/red-dsmc2-accessory-kits/products/a-box-red-dsmc2 . Or what? 2) Download and read the manual for that particular camera and firmware https://www.red.com/downloads/options?itemInternalId=16115 3) Be ready to run a cable to the camera. I've ended up doing that a few times with RED cameras, usually to get around RF problems. That could be a reasonable way to go here, if it'll work with the camera department. Good luck!
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"Boom Be Gone!" (Adobe's new Content Aware Fill Tool)
Mike Westgate replied to IronFilm's topic in General Discussion
Yes and how often have you had a director tell you "Lavs on all actors" and post saying we prefer the sound of a boom! A real conflict when you are working with 2 cameras and only have one boom op!!!!!!!!!!! mike -
I know this is an old convo but I just got the Marenius Add-on. Seems quiet so far. I'll test it out in the next day or two and update.
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G3 camera hops and playback on set.
Ontariosound replied to Ross Sound's topic in General Discussion
Perhaps you are in a little over your head. FYI if you are involved with any RED camera shoot be prepared for many technical issues. And sound will be pushed far down on the list of priorities. -
Hi to Sound Devices Users, I wonder if anyone with a Sound Devices recorder has an idea of how long it generally takes to "recharge" an internal timecode/system battery from a depleted state? I have a MixPre 10T and some functions go haywire when the internal timecode/system battery is low or depleted. I can't find a way to know what this internal battery charge status is in any menu so am having to guess as to when the charge is proper and how long to leave it recharging. After reading different posts I am told that in order to get this internal battery up to an adequate or full charge, connecting to hirose wall power is recommended. The thing I am finding odd is that since the internal battery can only be charged when the MixPre is turned on, you must hook up to wall power and leave the unit turned on - overnight recommended by Sound Devices. Apparently the internal system/timecode battery can also be recharged when the unit is powered by L-mount sled battery power, but once again the unit must be powered on for an indeterminate duration to do so. Would anyone know how long this takes. Is it normal on other recorders that while you are charging the internal system/timecode battery you have to stay powered on and are effectively depleting the main power battery? Lastly, how long are these internal rechargeable systems batteries supposed to last? Other than having malfunctions set in, is there a way to keep on top of this system battery's status and performance? Thanks for any tips. As always, much appreciated. Cheers, Dave -
NEW: K-TEK KTA2B Sidekick Transmitter Adapter - Klassic Bottom Module
KGraham045 replied to VAS's topic in Equipment
I use these as well. I prefer having the boom TX at the bottom as well - Yesterday
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I use this adapter, and in my experience have not had range issues. I would imagine that that has to do with the fact that it's not on a body, and additionally, while in most modes of operation, it's up in the air to a degree, though admittedly not as high as the boom end. My ops like the fact that the bottom mount balances the pole better for them.
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Not exactly. The system is designed as reference as accurate as possible and as such it does notfollow the "clock" of an external source even more so of unknown accuracy 8actually we only can pull so far from absolute reference. TRX mode is rather a single jam after which the system runs on it's own reference whcih may lead to abberation to the ajmming source depending on its absolute accuracy - witht hat being said, in the intended applications (playback/ remote roll on short takes) this is not an issue. What would be your application?
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Interesting. Do you ever boom with double Ms, or is it strictly for ambiance? I often work with probably a not so common combo, Cs3e and Ate208. Saves time for setups, and allows to get some ambiance or stereoimaging of action. I have a cabled Ortf rig at times, but more often than not, there is not much time to set it up and I imagine that an ambiance recorded with the same shotgun mic makes sense if the ambiance is used to fill in gaps of the dialogue if needed. All tho I really prefer AB if I record ambiance outside of set for an immersive experience.
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I stopped by their booth and checked them out. They have multiple versions depending on use. Different capsule sizes, different wire thicknesses, different connector options. It’s a similar design to the Sony ECM88/90 with the dual horizontal mic elements. I think the Sony has better isolation from noise from the wire (zero) but the shure one was impressive. It sounded good as well. They had a little setup with their axient wireless and psm900 Receivers. The mics seemed to be very accurate to the original sound source. NAB isn’t the best listening environment but was enough to get the general idea. Would definitely be worth checking out.
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working in berlin for different doc productions tv and cinema its mostly ms or double ms, its practical for booming, very compact, no problems with windshields and you always have a dedicated mid mic of your choice...
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Karl Winkler 11:37 AM (11 minutes ago) to me Hi Larry, DingRun is our location retailer in China, and they have an office in Hong Kong. http://www.dingrun.com/UI/Default2.aspx
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Thanks so much for the advice, everyone! I'm in deep in the search and have located some restorers with some inventory. I'll report back on my endeavors!
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I think what I took from the poll results and all the responses from the post people in the group, is to ask the post person what they prefer, if at all (some really are not bothered with ambience stereo files at all, go figure). Of course that is that you already know the post house. Basically what I already try to do if possible. To put it very blunt; it doesn't matter shit what WE like or prefer (Location sound recordists), but it matters what THEY want (post houses).
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OT. XY vs Spaced. I did a little experimentation recently with a spaced pair (of omnis at c.60cm) while on holiday in Sri Lanka and I found the localisation to be very good (in the headphones). This really stood out when I went for an early morning bird watching walk with the rig - it was almost freaky how quickly and accurately I could identify the position of the bird singing (in a jungle like environment) just through the HPs. It made me consider if the elephants (which are part of the wildlife of the island) were better at locating the position of a sound because their hearing must be similarly spaced. RE VR's stereo ambience poll: Don't post people prefer to do their own if they can (and the cynic in me thinks perhaps an XY gives them a stronger case to use some budget to record an ambience with something else ; )? Perhaps the indicated preference for XY is to do with it being easier to carry and position on a busy shoot than a spaced pair and therefor the recordings are in general a bit stronger. Interesting that the first 2 on the list are phase co-incident - The Immoral Mr. Teas and myself often enjoy a disagreement about the merits or otherwise of this.
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NEW: K-TEK KTA2B Sidekick Transmitter Adapter - Klassic Bottom Module
Adam White replied to VAS's topic in Equipment
Anyone using this adapter for use with Lectro HMa that can give a quick review? Just weighing options re: mounting a transmitter top vs. bottom. Would rather not have to buy a new pole entirely to make this work. Was hoping the K-TEK squid would work at the base but it's not big enough to wrap around the pole bottom and HMa AW -
I can only speak for myself but the main reason that I prefer M/S is that my M/S rigs (Sennheiser 418 or 30/60 and sometimes 30/70 combo) are easily used in mono (M only) no drawbacks, no changing mics/ poles, just record and monitor the M signal and pretend you're working with a mono shotgun mic until you need stereo. The 30/60 or 30/70 are a bit heavy though. In post I like the control and compatibility. I used to mix in 5.1 for a little while (not anymore) and the M/S tracks worked great through all the down-mixing, no surprises. Dedicated XY rigs, which I also use sometimes, are nice but not practical in a run and gun situation, same for AB and Ambisonics.
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We just gave you this advice. If you’re unfamiliar with the settings of the g3 then you need to read manual and spend some time with the unit. I don’t understand what exactly you’re looking for here.
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@ Jim Feely Well... I'm surely the last person to ask what is comon on sets *g* But all the sound guys that I've asked recommended M/S. With every other technique you have a fixed recording angle, that might not be right in that certain situation. It's super flexible because you can use it with nearly every microphone as Mid-Channel, depending on what you want to achieve. And it's super compact and easy to use. If you have little time to setup it might be the best choice... Greetings Ps: Interesting Poll, Vincent. So most people go for an 180 degree recording angle and good localisation of the sound sources.
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I actually ran a poll last time in a post production group, what the post guys and galls actually prefer. These where the results (I think we can ignore the first option...);
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Rental and Sales Shop in Hong Kong?
joinwooHK replied to Tomoko Fukuda's topic in General Discussion
there is seldom rental here. But different brand got different store. What u looking for ? or We can meet and make friend . I based in HK , local born and raise -
Last time I did a scratch to helium with a G2 (same as G3/4 in therms of output etc) it was pretty straight forward. Didn't need a mono cable, just use a standard short angled trs cable, So i don't know what @Constantin means with the mono cable actually. My standard workflow for these things is to set 1K tone from the recorder into the TX, set the level of the tx healthy (something you can do now already, go to the Red and connect everything and "line up the levels". I believe I had my output set to 0dB but don't know for sure. All in all this should take 5 minutes max. The director I give a G series IEM tuned to the same channel, so he can listen during the take, if he wants to hear it on speakers it is a matter of setting up a powered speaker at the "video village" connected to the monitor, taking the audio from the video feed. Be aware this always needs to be powered down or turned down during the take, so I always advice against it unless the village is far away, because that is an "accident" waiting to happen. If the HP output of the monitor is low, you can always put a headphone amp between the monitor and the headphones.
